dorian mode

The Dorian mode (properly harmonia or tonos) is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the hypate meson to the nete diezeugmenon.

In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third.

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e4^\markup { Greek Dorian tonos (enharmonic genus) on E } feh geses a b ceh deses e

} }

In the chromatic genus, they are semitone–semitone–minor third.

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e4^\markup { Greek Dorian tonos (chromatic genus) on E } f ges a b c des e

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In the diatonic genus, they are semitone–tone–tone.

: {

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e4^\markup { Greek Dorian tonos (diatonic genus) on E } f g a b c d e

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In the diatonic genus, the sequence over the octave is the same as that produced by playing all the white notes of a piano ascending from E to E,Thomas J. Mathiesen, "Greece, §I: Ancient: 6. Music Theory: (iii) Aristoxenian Tradition: (d) Scales". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001). a sequence equivalent to the pattern of the modern Phrygian mode, although the temperament differs by small amounts.

Placing the single tone at the bottom of the scale followed by two conjunct tetrachords (that is, the top note of the first tetrachord is also the bottom note of the second), produces the Hypodorian ("below Dorian") octave species: A | B C D E | (E) F G A. Placing the two conjunct tetrachords together and the single tone at the top of the scale produces the Mixolydian octave species, a note sequence equivalent to modern Locrian mode.Thomas J. Mathiesen, "Greece, §I: Ancient: 6. Music Theory: (iii) Aristoxenian Tradition: (e) Tonoi and Harmoniai". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001).

The early Byzantine church developed a system of eight musical modes (the octoechos), which served as a model for medieval European chant theorists when they developed their own modal classification system starting in the 9th century.Harold S. Powers, "Mode, §II: Medieval modal theory, 2: Carolingian synthesis, 9th–10th centuries", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries of Music, 2001). {{ISBN|978-1-56159-239-5}} The success of the Western synthesis of this system with elements from the fourth book of De institutione musica of Boethius, created the false impression that the Byzantine octoechos was inherited directly from ancient Greece.Peter Jeffery, "Oktōēchos", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries of Music, 2001). {{ISBN|978-1-56159-239-5}}

Originally used to designate one of the traditional harmoniai of Greek theory (a term with various meanings, including the sense of an octave consisting of eight tones), the name was appropriated (along with six others) by the 2nd-century theorist Ptolemy to designate his seven tonoi, or transposition keys. Four centuries later, Boethius interpreted Ptolemy in Latin, still with the meaning of transposition keys, not scales. When chant theory was first being formulated in the 9th century, these seven names plus an eighth, Hypermixolydian (later changed to Hypomixolydian), were again re-appropriated in the anonymous treatise Alia Musica. A commentary on that treatise, called the Nova expositio, first gave it a new sense as one of a set of eight diatonic species of the octave, or scales.

In medieval theory, the authentic Dorian mode could include the note B{{music|flat}} "by licence", in addition to B{{music|natural}}.Harold S. Powers, "Dorian", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001): 7:507. {{ISBN|978-1-56159-239-5}} The same scalar pattern, but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on B{{music|flat}}), was numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorian mode.Harold S. Powers, "Hypodorian", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001): 12:36–37. {{ISBN|978-1-56159-239-5}} In the untransposed form on D, in both the authentic and plagal forms the note C is often raised to C{{Music|sharp}} to form a leading tone, and the variable sixth step is in general B{{Music|natural}} in ascending lines and B{{Music|flat}} in descent.Felix Salzer and Carl Schachter, Counterpoint in Composition: The Study of Voice Leading (New York: Columbia University Press, 1989): 10. {{ISBN|0-231-07039-X}}.

The modern Dorian mode (also called "Russian minor" by Balakirev,Richard Taruskin, "From Subject to Style: Stravinsky and the Painters", in Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler, 16–38 (Berkeley, Los Angeles, and London: University of California Press, 1986): 33. {{ISBN|0-520-05403-2}}.) by contrast, is a strictly diatonic scale corresponding to the white keys of the piano from D to D (shown below)

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d4^\markup { Modern D Dorian mode } e f g a b c d2

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or any transposition of its interval pattern, which has the ascending pattern of whole steps and half steps as follows:

: whole, half, whole, whole, whole, half, whole

Thus, the Dorian mode is a symmetric scale, since the pattern of whole and half steps is the same ascending or descending.

The modern Dorian mode can also be thought of as a scale with a minor third and seventh, a major second and sixth, and a perfect fourth and fifth, notated relative to the major scale as:

: 1, 2, {{music|b}}3, 4, 5, 6, {{music|b}}7, 8

It may be considered an "excerpt" of a major scale played from the pitch a whole tone above the major scale's tonic, i.e., a major scale played from its second scale degree up to its second degree again. The resulting scale is, however, minor in quality, because, as the D becomes the new tonal centre, the F a minor third above the D becomes the new mediant, or third degree. Thus, when a triad is built upon the tonic, it is a minor triad.

The modern Dorian mode is equivalent to the natural minor scale (or the Aeolian mode) but with a major sixth. The modern Dorian mode resembles the Greek Phrygian harmonia in the diatonic genus.

It is also equivalent to the ascending melodic minor scale with a minor seventh.

File:Bloch Chanty Poems of the Sea mm. 1-8.png's "Chanty" from Poems of the Sea, mm. 1–8.Bruce Benward and Marilyn Nadine Saker, Music in Theory and Practice: Volume II, eighth edition (Boston: McGraw-Hill, 2009): 243–244. {{ISBN|978-0-07-310188-0}}.File:Bloch Chanty Poems of the Sea, mm. 1-8.mid]]

{{Quote|Hit songs in Dorian include, "Evil Ways..., "I Wish"..., "Lowdown"..., "Foxy Lady"..., "Owner of a Lonely Heart"..., "Moondance"..., "Billie Jean"..., and many others.Kachulis, Jimmy (2004). The Songwriter's Workshop, p.41. Berklee Press. {{ISBN|9781476867373}}}}

• "Drunken Sailor"{{Cite web

| first = Ger | last=Tillekens

| date= 2002

|title=Marks of the Dorian family|url=https://www.icce.rug.nl/~soundscapes/VOLUME05/Dorian_family.shtml|access-date=31 January 2023|website=icce.rug.nl}}

• "Scarborough Fair"
• "Noël nouvelet" (15th century French Christmas carol, often sung in English as "Sing We Now of Christmas"){{cite web|url=http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/NonEnglish/noel_nouvelet.htm|title=Noel Nouvelet – French Noel|website=hymnsandcarolsofchristmas.com|access-date=18 December 2019}}

• "Ave maris stella", Gregorian chant (Marian hymn)The Benedictines of Solesmes (eds.), Liber Usualis, with introduction and rubrics in English. (Tournai and New York: Desclée & Co., 1961): 1259–1261.
• "Dies irae" (original setting in Gregorian chant, sequence).
• "Victimae paschali laudes", Gregorian chant (sequence)The Benedictines of Solesmes (eds.), Liber Usualis, with introduction and rubrics in English. (Tournai and New York: Desclée & Co., 1961): 780.
• "Veni Sancte Spiritus", Gregorian chant (sequence)The Benedictines of Solesmes (eds.), Liber Usualis, with introduction and rubrics in English. (Tournai and New York: Desclée & Co., 1961): 880–881.
• Alle Psallite Cum Luya, an anonymous three-part Latin motet from the late 13th or early 14th century, recorded in the Montpellier Codex and thought to have originated in France.{{Citation needed|date=January 2018}}
• Chominciamento di gioia, a 14th-century monophonic Italian estampie in five sections (British Library, Add MS 29987, No. 78).
• Lamento di Tristano, a 14th-century monophonic Italian dance in two parts, with the second section designated "La Rotta" (British Library, Add MS 29987, No. 91).
• La Manfredina, a 14th-century monophonic Italian dance in two parts, with the second section designated "La Rotta della Manfredina" (British Library, Add MS 29987, No. 92).
• The Kyrie, Gloria, and Credo of Messe de Nostre Dame (Mass of Our Lady), a polyphonic mass composed before 1365 by French poet and composer Guillaume de Machaut (c. 1300–1377).{{Citation needed|date=January 2018}}
• "Personent Hodie", Medieval Latin Christmas carol

• "Il est bel et bon", a madrigal by Pierre Passereau

• "Chorale prelude for organ in Dorian mode, BuxWV 180: Christ, unser Herr zum Jordan kam", an organ piece by Dieterich Buxtehude.
• "Toccata and Fugue in D minor, BWV 538", an organ piece by Johann Sebastian Bach (also informally known as "the Dorian" to distinguish it from the better known "Toccata and Fugue in D minor, BWV 565"). Although Bach left no explicit indication, the piece is commonly assumed to be in the Dorian mode, since it bears no key signature.{{fact|date=July 2024}}

• The "Et incarnatus est" in the Credo movement of Beethoven's Missa Solemnis.{{cite book|author-link=Michael Steinberg (music critic)|first=Michael|last=Steinberg|chapter=Notes on the Quartets|title=The Beethoven Quartet Companion|editor-first1=Robert|editor-last1=Winter|editor-first2=Robert|editor-last2=Martin|location=Berkeley|publisher=University of California Press|year=1994|page=270|isbn=0-520-20420-4|oclc=27034831}}
• The "Royal March of the Lions" from Camille Saint-Saëns's Carnival of the Animals suite uses Dorian mode to evoke a "Persian style."{{cite book|author=Brian Rees|title=Camille Saint-Saëns: A Life|date=1999|publisher=Chatto & Windus|location=London, UK|isbn=978-1-85619-773-1|page=261|edition=1st|url=https://books.google.com/books?id=enoZAQAAIAAJ&q=Dorian+mode|access-date=19 October 2017}}
• Large portions of the Symphony No. 6 by Jean Sibelius are in the Dorian mode.Lionel Pike, "Sibelius's Debt to Renaissance Polyphony", Music & Letters 55, no. 3 (July 1974): 317–326 (citation on 318–319).
• In "La Brise" (from the Mélodies Persanes, Op. 26), Saint-Saëns uses an E Dorian scale in the first half of the song.{{Cite web |last=Kayali |first=Francis |year=2008 |title=The eclecticism of Camille Saint-Saëns: defining a "French sound" in music 1866-1896 |url=https://franciskayali.com/papers/saintsaens.pdf |access-date=12 May 2022}}

• "Maiden Voyage" by Herbie HancockRonald Herder, 1000 Keyboard Ideas, (Katonah, New York: Ekay Music, 1990): 75. {{ISBN|978-0-943748-48-1}}. – The composition takes an AABA form with chords in the "A" sections in D Dorian and the "B" section in E{{music|flat}} Dorian.
• "Milestones" by Miles Davis
• "Oye Como Va" by Tito Puente, popularized by SantanaWayne Chase, {{cite web|title=How Keys and Modes REALLY Work|url=http://howmusicreallyworks.com/Pages_Chapter_5/5_2.html|location=Vancouver, British Columbia|publisher=Roedy Black|access-date=1 December 2011}}
• "So What" by Miles Davis – The composition takes an AABA form with the "A" sections in D Dorian and the "B" section in E{{music|flat}} Dorian.{{Cite book|last1=Hellmer|first1=Jeffrey|url=https://books.google.com/books?id=mjaITr2NdkEC&pg=PA190|title=Jazz Theory and Practice: For Performers, Arrangers and Composers|last2=Lawn|first2=Richard|date=2005|publisher=Alfred Music|isbn=978-1-4574-1068-0|page=190}}

• “Abracadabra” by Lady Gaga, F dorian minor.
• "Born Under a Bad Sign" written by Booker T. Jones and William Bell. The song is a simple but atypical I7-V7-IV7 12-bar progression with a key signature corresponding to C{{Music|sharp}} major but with every B{{Music|sharp}} and E{{Music|sharp}} lowered to B{{Music|natural}} and E{{Music|natural}}, making the song C{{Music|sharp}} Dorian.Transcription in "R&B Bass Bible" (Milwaukee: Hal Leonard, 2005). {{ISBN|0-634-08926-9}}.{{Verify source|date=April 2017|reason=Does the source name the mode, or is this Original Research?}}
• "Dorian" by First of October. The song uses the modern Dorian scale on the piano during the choruses to build tension, while staying in the key of D minor for the verses and melody.
• "Eleanor Rigby" by the Beatles{{cite web|url=http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/er.shtml|title=Notes on 'Eleanor Rigby'|access-date=11 August 2008|author=Alan W. Pollack|author-link=Alan W. Pollack}} is often cited as a Dorian modal piece, and while the melody line in places uses the major sixth scale degree, the chord progression is in Aeolian (I–{{music|flat}}VI and {{music|flat}}VI–I).{{cite web|last=Bill T. Roxler|title=Thoughts on Eleanor Rigby|url=http://www.billtroxler.com/f/21.4_Thoughts_on_Eleanor_Rigby.pdf|access-date=25 August 2012|url-status=dead|archive-url=https://web.archive.org/web/20140202102023/http://www.billtroxler.com/f/21.4_Thoughts_on_Eleanor_Rigby.pdf|archive-date=2 February 2014}}{{clarify|date=September 2014|reason=Why should this be regarded as Dorian with some Aeolian mixed in, instead of the other way round? "Eleanor Rigby" is a poor example because the melody of the song does not adhere to one scale, in fact, only small passages are distinctively Dorian. The referenced article, 'Thoughts on Eleanor Rigby' seems to make demonstrably false claims about which specific notes occur in the song, and even if taken as accurate is only claiming parts of the song to be Dorian. 'Eleanor Rigby' should therefore be omitted from this article to avoid confusion. Better examples could be given, such as Pink Floyd's 'Another Brick in the Wall pt II', which sticks to the scale throughout.}}
• The chord sequence i–III–VII–IV is sometimes used in pop songs, where the harmonic rhythm leads the listener to think of it as a minor song. In the final chord of the sequence, however, the third is a major sixth above the tonic, as in the Dorian scale. Examples include: "Mad World" by Tears for Fears.{{cite web|url=http://anthony-pacheco.com/2009/04/07/mad-world-deconstructed/|title=Mad World Deconstructed Anthony Pacheco|access-date=21 April 2017|author=Anthony Pacheco|archive-date=22 April 2017|archive-url=https://web.archive.org/web/20170422033154/http://anthony-pacheco.com/2009/04/07/mad-world-deconstructed/|url-status=dead}}
• "Get Lucky" by Daft Punk featuring Pharrell Williams{{YouTube|title="Get Lucky" (Daft Punk)|id=S5Cm9feLkPk}}{{Failed verification|date=July 2020|reason=The instructional video indicates that the song in question uses B Dorian mode, but also uses the minor sixth scale degree (B Aeolian/natural minor) and modulates to D major}} (B Dorian)
• "The Night The Lights Went Out In Georgia" (1973) by Vicki Lawrence
• "Rapper's Delight" by Sugarhill Gang is often written in E minor with a persistent C{{Music|sharp}} accidental,{{Cite web|last1=Nile|first1=Rodgers|last2=Bernard|first2=Edwards|last3=Gang|first3=Sugarhill|date=12 November 2007|title=Rapper's Delight|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0060395|access-date=31 August 2020|website=Musicnotes.com}} but is actually played in E Dorian.{{Cite book|last=Letsch|first=Glenn|url=https://books.google.com/books?id=K4v9Qf3geHgC&q=rapper%27s+delight+%22dorian%22&pg=PA50|title=R & B bass|date=2005|publisher=Hal Leonard Corporation|isbn=978-0-634-07370-0|language=en}} It shares a key signature (F{{Music|sharp}}, C{{Music|sharp}}) with its relative key, D major.{{Citation|title=The Sugarhill Gang – Rappers Delight (Bass)|url=https://tabs.ultimate-guitar.com/tab/the-sugarhill-gang/rappers-delight-bass-2550711|language=en|access-date=31 August 2020}}
• "Tick Tock" by Clean Bandit (and Mabel) sounds heavily pentatonic, but is in fact (nominally) in the 'D' Dorian mode.
• "Radioactive" by Imagine Dragons (B Dorian)
• "Autumn Sweater" by Yo La Tengo (D Dorian)
• "Adiemus" by Karl Jenkins performed with Miriam Stockley, Mary Carewe and London Philharmonic Orchestra (D Dorian)
• "Mad World" by Tears for Fears (F{{Music|sharp}} Dorian,{{Citation|title=Tears For Fears - Mad World (Official Music Video)| date=9 August 2013 |url=https://www.youtube.com/watch?v=u1ZvPSpLxCg|language=en|access-date=27 November 2021}} F Dorian cover by Gary Jules{{Citation|title=Mad World - Gary Jules|url=https://www.youtube.com/watch?v=4N3N1MlvVc4|language=en|access-date=27 November 2021}})
• "15 Step" by Radiohead (G{{Music|sharp}} Dorian)
• "Billie Jean" by Michael Jackson (verse; F{{Music|sharp}} Dorian)
• "Blinding Lights" by the Weeknd (F Dorian)
• "Blue Jeans" by Lana Del Rey (F Dorian)
• "Breathe" by Pink Floyd (E Dorian)
• "Burn it Down" (D Dorian) and "New Divide" (F Dorian) by Linkin Park
• "Don't Bother Me" by the Beatles (E Dorian)
• "Everything Means Nothing To Me" by Elliott Smith (B{{Music|b}} Dorian)
• "Feather" by Sabrina Carpenter (B Dorian)
• "Give It to Me Baby" by Rick James (D Dorian)
• "Great Gig in the Sky" by Pink Floyd (G Dorian)
• "Heart-Shaped Box" by Nirvana (G{{Music|sharp}} Dorian)
• "I Can't Dance" by Genesis (B{{Music|b}} Dorian)
• "I Me Mine" by the Beatles (A Dorian, then briefly D Dorian #4)
• "Karma Police" by Radiohead (A Dorian)
• "Lotus Flower" by Radiohead (verse; D Dorian)
• "Love Me Again" by John Newman (G Dorian)
• "Lucky" by Radiohead (chorus; E Dorian)
• "Money" by Pink Floyd (B Dorian)
• "No Quarter" by Led Zeppelin (C{{Music|sharp}} Dorian)
• "Norwegian Wood (This Bird Has Flown)" by the Beatles (chorus; E Dorian)
• "Purple Haze" by Jimi Hendrix (E Dorian)
• "Riders on the Storm" by the Doors (E Dorian)
• "Stairway To Heaven" by Led Zeppelin (chorus; A Dorian)
• “Straws Pulled At Random” by Meshuggah (chorus, D Dorian)
• "Supersonic" by Oasis (E Dorian)
• "The Fox (What Does the Fox Say?)" by Ylvis (C{{Music|sharp}} Dorian)
• "Thriller" by Michael Jackson (C{{Music|sharp}} Dorian)
• "Uptown Funk" by Mark Ronson featuring Bruno Mars (D Dorian)
• "Watermelon Sugar" by Harry Styles (D Dorian)
• "What Goes Around... Comes Around" by Justin Timberlake (A Dorian)
• "Wicked Game" by Chris Isaak (B Dorian)
• "Woodstock" by Joni Mitchell (E{{Music|b}} Dorian)

• Kimigayo, the national anthem of Japan
• The Halo theme, taking significant inspiration from the aforementioned medieval Gregorian chants to effect an "ancient and mysterious" sound, is written in E dorian
• The Angry Birds theme

• Kafi, the equivalent scale in Hindustani music
• kOdipPaalai / Pann Marudham in Ancient Tamil music, see Evolution of Panns
• Kharaharapriya, the equivalent scale in Carnatic music
• Ukrainian Dorian scale

{{Reflist}}

• [https://ianring.com/scales/1709 Dorian Mode – Analysis] {{Webarchive|url=https://web.archive.org/web/20170912012301/https://ianring.com/scales/1709 |date=12 September 2017 }}
• [https://mdecks.com/musicscales/musicscale2.phtml Dorian Scale over the Circle of Fifths]
• [https://gosk.com/scales/dorian-scale-for-guitar.php Dorian Scale on guitar]

{{Modes}}

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Category:Modes (music)

Mode